Page 180 - Collecting and Displaying China's Summer Palace in the West

Yuanmingyuan on Display 165
south: 1B-1G-entrance-1G-1B
west: 1B-3G-vitrine-3G-1B
north: 1B-1G-5B (behind stupa)-1G-1B
east: 1B-window-2G-window-2G-window
40 On the fabric, see Droguet, Chapter 9 in this volume.
41 Droguet, “Musée chinois.”
42 Chinese wood carvings show the same streaming tails; Shanshui Wang, Shaanxi min ju
mu diao ji [Collection of Folk Residences and Wood Carving in Shaanxi, China] (Xi’an:
San Qin Chubanshe, 2008), 49–51.
43 Jacquemart, Catalogue, introduction, n.p. (ii): “c’est qu’aucun vase oriental n’est dénué
de signification.”
44 Catalogue des meubles d’art anciens et modernes en bois sculpté et en marqueterie . . .
Le tout appartenant à M. Fourdinois (Paris: Drouot, 1887); and Marc Maison and
Emmanuelle Arnauld, Masterpieces of Marquetry in the 19th Century: Patents (Dijon:
Faton, 2012), 48–59.
45 Samoyault-Verlet, Musée chinois, 20.
46 Compare, for example, a Ming lobed stool in Grace Wu Bruce, Dreams of Chu Tan
Chamber and the Romance with Huanghuali Wood (Hong Kong: Art Gallery of the
Chinese University of Hong Kong, 1991), 50–51. The pedestal under the square incense
burner has a darker wood and more European design.
47 Catalogue des meubles d’art, 4.
48 E.g. the Li family house; Wang, Shaanxi min ju mu diao ji, 28, 32, 163.
49 Each side wall of each cabinet also has a horizontal panel, but no vertical panel.
50 Royal Collection, RCIN 2736.
51 The 1863 photographs show the hexagonal burner inside the entrance to the left. The
round tripod probably stood inside the entrance to the right.
52 See fr.wikipedia.org/wiki/Ferdinand_Barbedienne; accessed August 2015.
53 One example is a cloisonné teapot, also with a similar flame pattern (Quette, Cloisonné,
no. 60, 254). My thanks to Janet Baker of the Phoenix Art Museum for confirming the
shou identification.
54 Catalogue des objets d’art de la Chine et du Japon . . . composant la collection de feu
M. Barbedienne (Paris: Durand-Ruel, 1892).
55 Inventory of 1894 in the Musée chinois archives, no. 34713, item 1324.
56 The globes are absent today but visible in the 1863 photographs. See inventory no. 34713,
items 1316–1323; and Napoléon III et Eugénie reçoivent à Fontainebleau: L’art de vivre
sous le Second Empire, exh. cat. (Dijon: Editions Faton, 2011), 104–105, 126. The
museum also had two Chinese lanterns purchased in Paris.
57 Royal Collection, RCIN 1.
58 See James Trilling, Ornament: A Modern Perspective (Seattle and London: University of
Washington Press, 2003).
59 Martin Powers, Pattern and Person: Ornament, Society, and Self in Classical China
(Cambridge, USA: Harvard University Asia Center, 2006).
60 Oleg Grabar, The Mediation of Ornament (Princeton: Princeton University Press, 1992).
61 Jonathan Hay, Sensuous Surfaces: The Decorative Object in Early Modern China
(Honolulu: University of Hawaii Press, 2010).

Bibliography
Baguley, David. Napleon III and his Regime: An Extravaganza. Baton Rouge: Louisiana State
University Press, 2000.
Barthélemy Saint-Hilaire, J. Du Bouddhisme. Paris: Benjamin Duprat, 1855.
Bruce, Grace Wu. Dreams of Chu Tan Chamber and the Romance with HuanghualiWood.
Hong Kong: Art Gallery of the Chinese University of Hong Kong, 1991.
Catalogue d’estampes anciennes . . . composant la collection de feu M. Malinet. Paris:Maurice
Delestre, 1887.